The edition consists of a motion-sensor plug with the handcrafted logo of an eye. This is a recurrent motif in Morag Keil’s work that invokes Big Brother, reminding us of the possibility and feeling of being observed and under constant surveillance, and the increase of domestic apparatuses that could potentially be directed externally.
Inserted in an electrical network, the device can turn on light, radio or other appliances when motion is detected.

In the early 80s in the post-punk era, Willats started to investigate London’s social night life in the emerging self-organised — and illegal — night clubs (particularly The Schlager, The Anarchy Centre, The Cha Cha Club and Model Dwellings). The people he met there were creating a context for their community, a counter consciousness within the dominant deterministic culture. They wanted to externalise their sense of self into networks that were built round like-minded people, with similar transitioning, fluid, moving identities.
The edition is an ambient sound recording piece, a 33rpm Vinyl comprising the recording of conversations with the organisers and participants in the clubs—The Schlager and Model Dwellings. As the recordings were made during the night, they capture the sound atmosphere of the clubs, where conversations often overlap with the music.
A leaflet is included with the edition, with an interview with Stephen Willats about this project and some black and white photographs of the inside of the clubs full of people.

The limited edition is a readymade — the current issue of the magazine Texte zur Kunst, signed.
This edition is one of an ongoing series of readymade works by Merlin Carpenter.
Like May, Texte zur Kunst offers editions for sale. Here an edition for May is the Texte zur Kunst magazine itself, for sale at ten times cover price.

Through its intense and degrading colors, yellow, blue, yellow in blue, greenthrough its flowing drawing of an approximate and sliding symmetry and through its voidsthis edition equally evokes everyday consumption household products, bottles of Mr. Clean, waste oils or bones and corroded stones.

This is a representation of the industrial object, of its material, different to photographic captures, or 3D prints in vogue.

This photography was produced on the occasion of the exhibition ̈Colección Jumex, In Girum Imus Nocte et Consumimur Igni”, curated by Nicolas Ceccaldi, Fernando Mesta, Eva Svennung, Bernadette Van-Huy, Susana Vargas and Peter Wächtler in 2015. It is part of a fashion shooting, featuring a selection of artworks from the collection of the Jumex foundation. In this photograph, just behind the model, we can see Jorge Mendez Blake’s Librero Madame Bovary (2009). The artwork is visually incorporated to the fashion image.
This series has also been published in Purple Magazine Fall/Winter 2015.

This edition consists of a small kiln in gray ceramics and a number of accessories. The kiln, if placed inside a conventional microwave oven, can be used to melt, fuse or burn a wide range of objects at up to 1050°C / 1920°F.
The package includes:
– a microkiln (technical ceramics, phosphoric acid, carbon silicide),
– spur,
– a microwave oven 220V or 110V,
– a bowl (stainless steel, labeling removed),
– growing container (glass, plastics, cork),
– substrate (portion),
– PS-board with engraved socket pyramid motive.

This limited edition consists of two drawings originally made on two layers of transparent acetate sheets, placed on white background. The artwork represents a naked emaciated person begging for a muscular man’s affection. In the heat of the moment, the man’s shirt is ripped by accident, and his drink is spilled. The background image is a close up of the skinny person’s face which, like his nakedness, alludes to his emotional exhaustion. Stylistically inspired by manga and gay SM culture, this scene presents an alternative to the tropes of the Yaoi genre. Here, the character with the tall and strong body type is not an aggressive lover (Seme), and the bottom (Uke) is delusional, depressed and in denial about his one-sided love.

In terms of information-richness and level of surprise, greeting cards are forgettable messages that once received immediately return to the timeless realm they issue from. Stored in a calendar that persists as long as someone continues celebrating Christmas and birthdays, their underlying function is to say: “remember that I think of you.” The actual message is more an indicator of when (a sort of date-stamp) than a carrier of what (important data), and thus the phrase “Celebrate the Season” possesses an almost zero-degree level of communicativeness, as neutral and colorless as the data of a digital file. Compressed into a set of constituent parts, along with its map for reassembly, “Celbrathson” is a non-existent word from a machine language that translates human expression into streamlined patterns for transmission. The gestures of abstract expressionist painting, with their complex random patterns, seem to be on the opposite end of the informational spectrum, but in a paradoxical manner. Each spatter and stroke appears irreducible to a simple code for translation into any language, computer or human. At the same time, this lack of definable content is also a sign for something that escapes language to transmit effects operating on a purely visual level, just as the greeting card’s over-definition of text and image, in all its simple redundancy, ultimately conveys nothing but an intent for mood. This juxtaposition and collage – of the greeting card and abstract expressionism, of digital and acrylic painting – forms the basis of this edition, while continuing an inquiry by the artist around fundamental questions of media, information, and technology.

The alternate title of Mary Shelley’s 1818 novel, Frankenstein, is, The Modern Prometheus. In this work, a presentation of this well known monster focuses on the tension between flat, moving and 3-D image worlds. Seen through a monster’s face, the emptiness inside a bell jar seems to protect a space from an over-saturated field of visual information. Frankenstein, as he is shown in popular film and collectible objects, is famous for having a flat head. In this edition, a printed nylon Frankenstein stocking mask is stretched over a glass bell jar, reversing his typical de-formation. As the viewer moves past the piece, the face of iconic Frankenstein actor, Boris Karloff, shimmers into a moire pattern through the two layers of nylon fabric as it is magnified through hand-blown glass.

This limited edition is a Full Color Sandstone 3D printed figurine of the dealer Lars Friedrich. He has been running gallery Lars Friedrich in Berlin since 2011, where the artist has shown twice.
The print was produced from a scan of the gallerist’s body dated November 30th, 2014. Each edition is signed and numbered under the right foot by hand.

Pause syndicale is a shelf made of resin containing a hand made of a perforated metal sheet, in the shape of a wall bracket. A finger bent upwards emerges from the shelf supported by a threaded rod which helps to hold the bracket. Different brands of cigarette butts caught in the resin and the hole designed to take a coffee cup conjure up the idea of breaks in the work place. There is a reference here to the gradual reduction of the function of the hand as a tool, and to its possible function involving preserving an arrangement for a temporary work halt, or even a strike. In passing, this use of the hand makes critical reference to the spread of recent anthropomorphic sculptural references, which introduce floating hands with no apparent function.

The edition consists of a view of the recent Jana Euler show at the Cabinet gallery (2013) where a series of paintings was presented surmounted by an anamorphic wall painting borrowing the words “When expectations meet needs.”

The deformed text is thus put back together from a pre-established viewpoint (adopted in the edition). The exhibition compares two kinds of visibility. The first is to consider each painting individually—but without the complete text. The second is to take the exhibition as a flattened image with a perfectly readable text, but where the views of the paintings are distorted and partial. The text refers to the need for information about works which must be immediately accessible on the Internet. The challenge is to make the exhibition a perfect image (for websites and Contemporary Art Daily alike) which contains all the information required to replace visiting the exhibition.

The same view can be found on CAD, but the choice to make a printed edition for the magazine May six months after the show makes it possible to speak out against the process of immediate appropriation permitted by the Internet, and its consequences on the libidinal economy in the art field.

For this limited edition, artist Nicolas Ceccaldi has sown shut copies of Tao Lin’s Taipei (2013) and partially covered their exterior surfaces with black acrylic paint. The letters remaining visible spell out the word “PAIN,” appearing both on the front cover and on the side, ­allowing the edition to be displayed either flat, frontally, or stored on a bookshelf. The original idea for this ­détournement was found on the website jacketparty.tumblr.com.

Epson DURABrite inkjet and letterpress on paper
Four pages, 21 x 29.7 cm each
Edition of 50+10 A.P., signed and numbered

The edition is a four pages print of the front page of The New York Times website on May letterhead. As the edition was printed in one day, the time stamp will change, and possibly the headlines updated throughout the day. Each edition is signed and numbered.

The limited edition includes a text poster (describing in further details the production of the special May veil by the Montezuma group and the stories revealed during its production and other production reflections), and the special Montezuma jewelry object itself, made of metal, fabric, and other lttle materials, which received professional help by a mexican handicraft specialist. The difficult and slightly unconventional combination of materials was also overseen and sometimes resolved by him. A long lasting quality is guaranteed, even if used in unconventional ways.

UNITED BROTHERS is a limited collaboration between Ei Arakawa and his brother, Tomoo Arakawa. A Bulb Called Paint Brush, was conceived after Ei Arakawa’s visit to his brother’s tanning salon, BLACKY, in the region of Fukushima, Japan, in the wake of the nearby nuclear crisis. This edition gathers 58 bulbs in total, corresponding to the number of bulbs required for the use of one tanning machine. “This is a bulb (energy source / social symbol / performative object) that involves paintings (and us) in action and dance. A bulb called paint brush. The sum of tanning bulbs tackles with the assumptions.”

This pre-cut photograph, printed on a self-adhesive paper, was taken during the making of the work Untitled (portrait allemand): Rodzielski was then working on an engraved plate for the printing of playing cards, dating from the 19th century, trying to resolve the possible outcome of their shapes. They are now cut and colored—taking on their initial fabrication again, at the moment when it was halted.

Each La Grande Oreille bag contains a record that one could have acquired in the record shop of the same name located 18, rue Chef de Ville, at La Rochelle (France), following the recommendations of its owner, Daniel Reynaud, between 1975 and 1979. The signed and numbered listing of the 50 records that constitutes the whole edition series La Grande Oreille represents the certificate of authenticity of this parachronic* ready-made.

* Error of chronology, which consists of placing an event later than we should.

Set of 2 screenprints on bristol paper
320 gr., each 23,4 × 16,5 in.
Edition of 50 + 10 A.P., signed and numbered

This limited edition, composed of a set of two distinct silk-prints, is based on a principle of superimposition often used by Heimo Zobernig and applied here to the letters of the title of the magazine May, using two different fonts and three layers of grey. The use of the modernist font Helvetica (Helvetica Neue 95), signature style of the artist since the end of the 80s, produces a geometric pattern leaning towards the monochrome. The use of the Bodoni (Bodoni Poster) refers to the specific choice of this classic font that constitutes the magazine’s visual identity and produces a more architectonic and irregular pattern. The set of prints can be read as the unexpected encounter between two different and heterochronic graphic worlds, each of them symbolizing a turn in the history of typography. For each, the black is the result of the superimpositions of layers of “transparent” black. This demonstrates that a visual identity –what is eventually perceived– does not so much rest on a succession of characters as on the whole, a global form.

Oscar Tuazon has chosen the artist book format to pay tribute to an out-of-print cult 80s book, Vonu, a compilation of writings unfolding like a libertarian treaty on the attainment freedom, grounded in the modern North American socio-political landscape. Partly conceived like a practical manual, the publication also conveys the extremes by which its author Rayo, lived. While the initial contents have been faithfully scanned and reprinted, this new edition has earned a handmade leather binding, crafted by the artist himself, who has also delicately inserted a unique piece of landscape photography on each cover, following the design of the initial edition. Disappearing behind this act, Oscar Tuazon’s gesture is about recirculating an object as well as concepts and an attitude that have strongly informed his work.

This ready-made sculpture by artist Claire Fontaine alludes to an identified artistic pattern and/or form, and to the initial masking or obliterating function of the letter and symbol X. It can also be read with regards to this ready-made’s use value –actual book-ends– and by extension, to the editorial project it was produced for.